Whiplash 2014 123movies

Watch: Whiplash 2014 123movies, Full Movie Online – Nineteen year old Andrew Niemann wants to be the greatest jazz drummer in the world, in a league with Buddy Rich. This goal is despite not coming from a pedigree of greatest, musical or otherwise, with Jim, his high school teacher father, being a failed writer. Andrew is starting his first year at Shaffer Conservatory of Music, the best music school in the United States. At Shaffer, being the best means being accepted to study under Terence Fletcher and being asked to play in his studio band, which represents the school at jazz competitions. Based on their less than positive first meeting, Andrew is surprised that Fletcher asks him to join the band, albeit in the alternate drummer position which he is more than happy to do initially. Andrew quickly learns that Fletcher operates on fear and intimidation, never settling for what he considers less than the best each and every time. Being the best in Fletcher’s mind does not only entail playing well, but knowing that you’re playing well and if not what you’re doing wrong. His modus operandi creates an atmosphere of fear and of every man or woman for him/herself within the band. Regardless, Andrew works hard to be the best. He has to figure out his life priorities and what he is willing to sacrifice to be the best. The other question becomes how much emotional abuse he will endure by Fletcher to reach that greatness, which he may believe he can only achieve with the avenues opened up by Fletcher..
Plot: Under the direction of a ruthless instructor, a talented young drummer begins to pursue perfection at any cost, even his humanity.
Smart Tags: #emotional_abuse #drummer #music_school #teacher_student_relationship #new_york_city #drum_solo #teacher_misconduct #verbal_abuse #aspiring_musician #jazz_music #conservatory #obsession #motivational #public_humiliation #musician #music_competition #mentor_protege_relationship #hand_wound #breaking_up_with_girlfriend #jazz_band #drumming

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Ratings:

	8.5/10 Votes: 848,198
	94% | RottenTomatoes
	88/100 | MetaCritic
	N/A Votes: 12773 Popularity: 51.168 | TMDB

Reviews:

When I sat down to watch this film, I didn’t know what to expect. I am not usually a fan of films about musicians but this was a brilliant and tense masterpiece. The story is of a very ambitious boy named Andrew (played by Miles Teller) who is a music student in New York. He aspires to be noticed by a prestigious music teacher named Fletcher (played by J.K. Simmons). As his wish starts becoming a reality, he realises the brutality of this teacher who continually pushes him with questionable methods. Damien Chazelle’s direction is almost of a tense boxing or war action drama in that it constantly uses the music of the drumming to build the tension whilst using violent and sharp editing whilst the jazz band play.

Chazelle’s screenplay is very well written. It is filled with humour, tension and heartbreak. The way in which Fletcher switches during Andrew’s first lesson is expertly done. Fletcher relentlessly insults Andrew in a very shocking way which really creates a huge sense of sympathy for Andrew’s character as he struggles to respond. The insulting dialogue is very similar to Stanley Kubrick’s ‘Full Metal Jacket’ in that it is both humourous and disturbingly distressing.

The performances in this film are remarkable. Miles Teller is a relative newcomer but takes to this character with so much depth and understanding. The drumming scenes look like incredible and torturous workouts and Teller really shows the pain and agony his character is going through to reach his dream. The chemistry between the two central characters is flawless. J.K. Simmons is perfect as the abusive music teacher. Simmons manages to combine Fletcher’s distinguished persona with his terrifying unpredictability. Simmons reminds me of his character in Valve’s ‘Portal 2’ in which he continuously spouts insults at the player in a darkly hilarious way.

Overall, ‘Whiplash’ is a fascinating study of passion, ambition and love. The film asks questions about the morality of getting one’s dreams and the acceptable methods of acquiring them. Full of amazing performances all around, and created with such intensity and spirit, my final rating for this film is 4.5 stars.

★★★★½

**Whiplash grips its audience from start to finish with a remarkable awe-inspiring performance by J. K. Simmons.**

BRUTAL! Whiplash is a savage film with mind-blowing career-defining performances, interesting storytelling, and palpable oppressive anxiety. J. K. Simmons didn’t deserve an Oscar for this movie… he deserved all the Oscars. I was in awe of the intensity and cruelty Simmons unleashed throughout the film while peppering in moments of vulnerability that keep the audience guessing if he is a clever mentor or a manipulative abuser. I love how the film ends, leaving that very question open-ended. I didn’t enjoy the volume of language, and obviously, the subject matter of the movie wasn’t a fun focus, but the mastery of the performances, cinematography, and storytelling establish Whiplash as a true Oscar-worthy film.

A pair of outstanding performances by Miles Teller and J.K. Simmons embody Damien Chazelle’s piece of perfection…
When it comes to cinema, there are often little gems in a sea of bigger spectacles, that can break through in the most proficient way. Last year, I pleaded to the entire film universe that discover and understand “Inside Llewyn Davis” from the Coen Brothers after seeing it for the first time at NYFF. This year, I’ve seem to already come to terms that the next film that will utilize all my energy and resources this year will be Damien Chazelle’s highly intense psychological drama “Whiplash.” An impeccable and tightly wound experience that brings your anxiety to a feverish level. As small, and utterly different as I’m about to compare, I haven’t felt this uneasy with a film’s tension since Paul Greengrass’ “Captain Phillips,” coincidentally also was a NYFF title. Two other similar traits that embody the two are the intense and completely submersible performances that inhabit them. Stars Miles Teller and J.K. Simmons are absolutely astonishing, featuring two of the year’s very best turns.

Chazelle’s film tells the story of Andrew (Teller), a first year music student that seeks out and joins the prestigious school band, headed by an intense and frightening teacher Mr. Fletcher (Simmons).

Walking out of the screening I fully knew (though I fully hope to be proved wrong this year) that Miles Teller would be my “Oscar Isaac” this year. A performance that should shoot to the top of any awards consideration for a lead actor, but unfortunately will be passed over show after show. Teller is submerged in a way that we haven’t seen the young actor achieve at this stage in his career. After plowing onto the scene opposite Nicole Kidman in “Rabbit Hole,” and then helming “The Spectacular Now” with complete ease and intensity, I was not expecting him to be the machine of fury and magnitude that is on display in “Whiplash.” There are moments where he channels the emotional aura of performances like Tom Hulce/F. Murray Abraham in “Amadeus,” as crazy as that sounds. I am so excited to see where Teller goes from here. It makes the future of film a lot more bright, knowing that someone like him will be rising up in the ranks.

Everything you’ve heard about J.K. Simmons is true and then some. A fully fleshed out supporting role, Chazelle doesn’t write Fletcher as a caricature. He’s a deeply acute individual, full of passion and acrimony. Chazelle doesn’t keep Simmons at a “10,” he and Simmons allow him to find a range of empathy, hatred, and cryptic allowances that will keep you at the edge of your seat. As I watched Simmons flesh out a performance that can only be described as magnificent, I kept coming back in my mind to Christoph Waltz in the Oscar-winning “Inglourious Basterds,” a role that found much heat on the awards circuit. The world/all film lovers will not be able ignore the stunning presence of Simmons. A Supporting Actor nominations (maybe even a win) seems all but assured (and deserved). Looking back at the veteran actor’s career that included memorable roles in “Juno,” “Burn After Reading,” and “Up in the Air,” a role like this could not have come at a better time. Already impressive in his brief work in Jason Reitman’s “Men, Women & Children,” writers, directors, casting agents, and producers will be pounding on the actor’s door.

You can’t credit “Whiplash” without citing the words and control by writer/director Damien Chazelle. An amazing and outstanding sophomore effort (unfortunately have not seen his debut “Guy and Madeline on a Park Bench”) that channels a young Bennett Miller. Vigorous, self-assured, and innovative, Chazelle is a brilliant auteur filmmaker that knows exactly what type of films he wants to make. He takes inspiration from his own life, his love of film and music, and other places I’m sure we don’t know about, and molds them into a gritty, layered experience, conditioned with rich characters, all realized through the writer’s story. It’s one of the best scripts of the year.

“Whiplash” features some of the best minutes of film seen in 2014. An ending that will bring tears to your eyes, dual performances that will have you applaud, and an experience that you surely will not forget. Drumming has never felt like such a personality. It acts as a visible tool for the viewer to understand and try. If you love music, appreciate education, and dare to be better than your current state, you will find something very real to latch onto. Hold on, and hold on tight.

“Whiplash” is being distributed by Sony Pictures Classics and will be released October 10 in limited release (and then expanding after). A must-see for all movie lovers!

An important hardened lesson in resilience and when to stop measuring up to your mentor. Whiplash is a captivating study of ambition.
Taking the festival circuit by storm since its Sundance premiere in January, Whiplash is starting to feel like the underdog that could go far with its crowd-pleasing intensity. On the surface, it’s a gritty story about a brutal student-mentor relationship that oversteps boundaries. Underneath, it’s a piercing examination of the psyche of unbridled ambition. Whiplash is a film that stops at nothing. As a result, it’s the best film I’ve seen in years, and I say that without hesitation. This is a film that resonates on every single level and every moment counts. If writer/director Damien Chazelle was striving for greatness as much as his protagonist, then he has achieved it.

Miles Teller, who’s been steadily growing on me since The Spectacular Now, stars as Andrew Neyman, a 19-year-old aspiring jazz drummer who’s pushed and inspired by the abuse and aspirations of his school band leader Fletcher, played by the ferocious J.K. Simmons like we’ve never seen him before. Chazelle has described the film as an origin story to the jazz musicians of the golden age, and it thrives on the myths of jazz heroes such as Charlie Parker. They’re urgently looking for the next Parker, in search of perfection. But with that comes a great irony. The music genre is known as one for freedom of expression but here the jazz is soulless and mechanical, and that clouds the ethical judgment of the characters. Even so, Fletcher is a man who can tell if you have the right tempo within a bar. Although most of the audience for the film may not know much about music including myself, you get a feel for what he’s looking for and when someone’s wrong even if you don’t know why. Simmons is as good as they say he is. He’s a force of nature, with a terrifying presence that incites the fear Bryan Cranston achieved with the peak of his Walter White. But it’s not a one-note performance. Simmons is still subversive with moments of weakness, insecurity, approachability, and he also sometimes brings in the lightness he’s known for in other roles with Jason Reitman, exec producer here.

Even though he’s an unlikeable character with nothing nice to say, he’s still somewhat endearing and enigmatic, much like R. Lee Ermey’s drill sergeant in Full Metal Jacket. This demasculinisation through a barrage of insults is a theme explored in Whiplash and it argues whether it’s a crime or an ‘ends justifying the means’ factor of life. It’s not just a music film, but also one that adapts to the elements of sports training, war at boot camp and biopic genres with the way it frames its elements. Fletcher is representative of the devil on our shoulders that yells at us that we’re not good enough and that symbolic idea resonates deeply for me. His poisonous words are more a part of Andrew’s psyche than legitimate coaching techniques. What grabs me about the film is its discussion on artistic perfection, and especially in these intimate and rough sequences of practicing. What is objectively great in art? When is it good enough, and why? It toes a fascinating line. That’s why drumming is such an interesting choice for the film to explore because it’s so instinctive. Drummers have to make decisions within a fraction of a second and talent can only take you so far. The roaring beat in Whiplash puts your heart in your throat. Teller’s performance as Andrew is terrific, one to match Simmons.

Chazelle is committed on expressing the physicality of drumming and Teller captures it exhaustively without feeling contrived. It’s the virtuosity of the writing that allows us into Andrew’s head however. It’s a long road to the top, but the script makes the right decision to allow him to revel in the little moments of success, but then to immediately test him in surprising and involving ways. Each turn of the story shapes his expectations and ambitions and then escalates it to the right point. While the film is a gripping experience nonetheless, in retrospect perhaps it is too bitingly cynical. It does suggest that you have to be deprived of a meaningful relationship to achieve your goals. It does appear to be very anti-positive reinforcement, but perhaps it’s merely a statement on the abundant sheltering that the latest generation is enduring. Whiplash is refreshing to see, we all know we wouldn’t be resilient enough to take that kind of punishment so it’s cathartic to watch Andrew go through it all and see how far he’ll go. His frustration, regrets, fear and rage with himself cuts to the core of the human condition as he’s pushed further and further.

The technical aspects of the film help it become so stimulating with dizzying closeups tightly edited together and its the stark orange tinted cinematography. It’s thoroughly impressive that the film was shot in only 19 days for them to get shots so immaculately timed and performed with all those complicated movements. There’s a refreshing brevity to the film with its sharp atmosphere, but it’s so rich in emotion, psychological tension and personal subtext. It neither rushes nor drags, on paper nor on screen. It really is a film that lingers in your mind for days, nagging you, like Fletcher over your shoulder. Maybe it’ll continue to linger for weeks. I hope so too, especially for Oscar voters. It seems that J.K. Simmons is building momentum to be a lock for Best Supporting Actor at this point. However, Whiplash isn’t just a best of year film, nor best of decade. It approaches best of all-time worthy with its identifiable themes of meticulous work ethics, fulfilling aspirations, resilience of the soul, and knowing when to no longer measure yourself to your mentor. I’ll take this film with me for a while as a screaming motivator.

10/10. Best film of the decade.

Read more @ The Awards Circuit (http://www.awardscircuit.com/)

Other Information:

Original Language en
Runtime 1 hr 46 min (106 min)
Budget 3300000
Revenue 13092000
Status Released
Rated R
Genre Drama, Music
Director Damien Chazelle
Writer Damien Chazelle
Actors Miles Teller, J.K. Simmons, Melissa Benoist
Country United States
Awards Won 3 Oscars. 98 wins & 145 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital, SDDS, Datasat, Dolby Atmos
Aspect Ratio 2.39 : 1
Camera Arri Alexa, Cooke Speed Panchro, Leitz SUMMILUX-C and Angenieux Optimo Lenses, Canon EOS 7D, Cooke Speed Panchro and Leitz SUMMILUX-C Lenses
Laboratory Modern VideoFilm, Burbank (CA), USA
Film Length N/A
Negative Format Digital (HD), SxS Pro
Cinematographic Process Canon H.264 (1080p/24) (source format) (some shots), Digital Intermediate (2K) (master format), ProRes 4:4:4 (1080p/24) (source format)
Printed Film Format D-Cinema